Preceding film by thousands of years, plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism applied thank you cards, such as mise en scene (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film. The camera obscura was pioneered by Alhazen in his Book of Optics (1021), and later near the year 1600 bridal shower invitations, it was perfected by Giambattista della Porta. Light is inverted through a small hole or lens from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording. In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (wedding speeches) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision.